Decorative Art

Witness 04 Unique Charcoal wall sculpture by Jeremy Descamps Unique piece Dimensions: W 12 x D 12 x H 185 cm Materials: Oak, brass, marble. Jeremy Descamps Born in Namur, July 7, ...

Jose Maria Yturralde, Figure Imposible, 1969 Color serigraphy This work is signed by the artist. It has a title and date Sheet dimensions 35/25 Unframed Jose Maria Yturralde was born in 1942 in Valencia. He was a doctor of fine arts at the Polytechnic University of Valencia and professor of painting at the Academy of Fine Arts in Valencia. He is an ordinary member of the Royal Academy of Fine Arts of San Carlos in Valencia. In 1968 he was a scholarship holder at the Calculus Center of the University of Madrid. It was then that he started his first computer work. The first Computable Forms exhibition was held in 1969. He has received numerous awards: B.G. Salvi and Premio Europa Ancona, Italy in 1972 and the Juan March Foundation scholarship in 1974 to stay at MIT in the USA, Research Fellow at the Center for Advanced Visual Studies, Massachusetts Institute of Technology. In 1990 he was invited to participate in the Toyama Now International Triennial in Japan. At the invitation of the Union of Russian Artists, he went to Moscow, where he conducted courses and lectures about his works. He received an award in the Valencia Underground wall painting and sculpture competition in 1995. In 1996, he spent a month at the U.N.A.M. Mexico F.D and conducted various activities related to Flying Structures. In 1998 he returned to Mexico to exhibit his work in several museums. Also in that year he was invited to participate in the First European Triennial of Nature in Dragsholm Slot Odsherred, Denmark. He showed the works of Frame the Forest, Hyperweb and Flying Structure. The exhibition of his latest work took place in Buenos Aires, Montevideo, Sao Paulo and Paris. He published numerous articles and lectures. He is also the author of books. He was deputy curator at the Museum of Spanish Abstract Art in Cuenca. He developed an artistic style close to science, such as his Impossible Figures. He introduced cyber art...

Curt Hillfon, Amaryllis, 1960s Serigraphy Work signed by the artist (pencil) Work dimensions 52/42 Framed work Curt Hillfon (1943 - 2018) was a painter, graphic artist and dra...

Pair of framed antique 17th century Roman Catholic antiphonal music sheets, hand drawn on vellum with illuminated capitals. Measures: 28.25” x 1.75” ...

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

Bengt Lindstrom, Autumn Night Serigraphy Number 95/200 Work with signature and individual number (pencil) Sheet dimensions 47/62 Unframed work Karl Erik Lindström...

Witness 5 unique charcoal wall sculpture by Jeremy Descamps One of a Kind Dimensions: W 12 x D 12 x H 220 cm Materials: Flame-burnt Belgian oak, Belgian cherry red marble. Jere...

Large Red Liebig Sign from the 1950s. A French porcelain sign - enameled metal sign for Liebig Soup - Liebig Potage, made by A.A.F. Great looking wall decoration in the colors red and white with charming traces by age. Vintage sign - vintage porcelain sign wich will look great in your interior or kitchen, in a soup bar, restaurant, tavern, catering facility etc .... Vintage signs - Vintage wall decoration - vintage wall signs...

All our products are custom made. The price per square meter is 91$. The price shown is for a 350cm wide by 250cm high wall With this set, we inaugurate a series of models on the ...

Set of Four midcentury Signed Enamel plaques by MarCo Gaia and Marine Gaia 3 of the frames Measure 12 x 12 and the single largest frame is 13 x 13 to...

Tina Turner, Prince and Fats Domino Or Percy Sledge (?) , all together on a large carnival banner. A handpainted canvas banner used at the fairground at a bumper car - dodgem car attraction. All 3 of them iconic artists and legendary singers. They will never be forgotten. Tina Turner with her typical stage clothing was a real trendsetter. Sexy but so stylish and do not forget her typical dancemoves and her incredible talent to sing ! Prince at his motorbike, the typical image for the famous purple rain song. This large carnival banner - fun fair banner...

Etched stainless steel with paint accents wall art titled "The Dance".

All our products are custom made. The price per square meter is 77$. The price shown is for a 350cm wide by 250cm high wall Wall decor in natural inspired by the Amazon jungle. Th...

All our products are custom made. The price per square meter is 77$. The price shown is for a 350cm wide by 250cm high wall Hava is a look between the earth and the sky, a space w...

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

A mid-18th-century Italian terracotta relief of the Virgin & Child appearing to St Philip Neri In a silver filigree, gilt-bronze and gilt-copper-mounted, lapis lazuli and wood frame. Known as the ‘Apostle of Rome’ due to his labours amongst the sick and poor of the city, Philip Neri (1515-1595) became an influential figure of the Counter-Reformation. Many miracles were attributed to him, and he was beatified by Paul V in 1615. His popularity and place in the folklore of Rome created a demand for his depiction within the church. For example, Carlo Maratta’s painting for San Giovanni dei Fiorentini, the preliminary study for which bears relation to the present composition (Royal Collection, inv. 905553). The fresh and freely modeled handling of the present relief is in the tradition of Giovanni Antonio Mazzuoli’s (1644-1706) small-scale modelli for altarpieces (C. Sisi and G. Gentilini, La Scultura : bozzetti in terracotta, piccoli marmi e altre sculture dal XIV al XX secolo, Florence, 1989, nos. 92-95). Additional information: Origin: Italy Period: Circa 1750, 18th Century Style: Religious, The Virgin and...

Textile Art, Hand-crafted, Knit and Crochet Art Blanket, Knitted Tapestry, Wall hanging, Affordable Art. Sky with fluffy clouds and sun above a geometric ...

Mosi Art Object by Studio Yoon Seok-Hyeon Dimensions: D 20 x W 43 x H 150 cm Materials:Mosi, Ott (Ottchil). Fabric Weight: 15kg Today, modern textiles are produced cheaper and ...

Mosi Art Object by Studio Yoon Seok-Hyeon Dimensions: D 20 x W 43 x H 150 cm Materials:Mosi, Ott (Ottchil). Fabric Weight: 15kg Today, modern textiles are produced cheaper and ...

Unique double sided print produced by Vanguard Studios of Beverly Hills, CA. On one side we have an abstract art print in shades of blue and gray, titled “Rectangles” and pencil sign...

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

All our products are custom made. The price per square meter is 77$. The price shown is for a 350cm wide by 250cm high wall Yukiko Noritake, illustrator, Japanese artist based in ...

All our products are custom made. The price per square meter is 77$. The price shown is for a 350cm wide by 250cm high wall Jardin des Oiseaux is a reinterpretation of a great cla...

Vintage school poster - school chart by Rossignol France. Beautiful design of a neighborhood full of skyscrapers. They have a great view on the ...

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

Weave: A piece of 3D sculptural wall art designed and made from two layers of putty coloured leather, woven together by Louise Heighes. Measuremen...

A set of four concrete square tiles with four individual gilt relief designs within a center square. A male facial profile, a moon face, an up close of an eye and brow, and a male torso form...

Wave: A piece of 3D sculptural wall art designed and made from two layers of cream leather, woven together by Louise Heighes. Measurements are 29 x 45 inches or 114 x 74 cm. T...

5 Ropes by Alejandra Artizabal Dimensions: 110 cm x 130 cm Materials: Fique - Furcraea andina. The plant is transformed manually into textiles and ropes and used in various applic...

Expressionist watercolor Modernist movement still life, signed. Beautiful Expressionist still life watercolor in delicate pastel hues. Painted on paper and layed down in a loose t...

Large film poster - film affiche for the movie "Le Caméraman" - Buster Keaton. This yellow film affiche dates from the 1960s and was made for France by Créations Publicitaires OPF Paris. It's a plastic over paper film affiche. The original film " The cameraman " was a mute black and white film from 1928. As these affiche was for outdoor use to make publicity, it is plasticized to be protected for the weather. He's in vintage condition so with traces of use like little holes as it was beeing hung and also some creases so do view all pictures well ! This vintage film affiche is great wall decoration for movie addicts and lovers of old films and also for someone who loves antique cameras...

Ropes by Alejandra Artizabal Dimensions: 75 cm x 65 cm Materials: Fique - Furcraea andina .The plant is transformed manually into textiles and ropes and used in various applicatio...

' Not all cats are grey at night ' is what this beautiful and sturdy cat almost has to think. The thick lava glazing and the scratchy decor date this piece to the second half of the...

"Artist: Leonardo Nierman Title: ""The City Lights"" Year: 1970s Medium: Lithograph Signed: by the artist in pencil Numbered: Limited edition, 95/250 Beautifully frame with a n...

6 Ropes by Alejandra Artizabal Dimensions: 156 cm x 200 cm Materials: Fique - Furcraea andina .The plant is transformed manually into textiles and ropes and used in various applic...

Gaetano Pesce's works are generally eccentric, modern and carry a concept of "happening", which is the transformation of the object. Experimenter of different forms and materials, h...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...

This beautiful and dynamic isometric grid sculpture was realized by the esteemed American artist Dan Schneiger in the United States circa 2010. In dialo...

Italian modern elliptical wall mirror with crease in the upper part by Hiroyuki Toyoda for Simon Gavina, 1982. Iseo model mirror with an elliptical shape, with a flap in the upper p...

19th Century heavy French bronze relief plaque with three winged dancing angels. Wonderful patina.

Rosenthal collectible, set of three framed German plates. One by Vasarely, 1936. "Leben und Leben lassen, Liben und Lieben lassen" Limited edition, s...

Real by Michael Young Dimensions: Ø34 x H 25,6 cm Materials: Anodized champagne/black laser cut metal Michael Young Michael Young is a world-renowned British designer. He fou...

Vintage 1970s oil landscape painting. Features a view through the woods on a foggy day showing trees, grassland and a pond. The canvas is signed lower right and framed in wood with c...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

This beautiful 11.5 pottery charger is from Montelupo, Italy and is boldly decorated with a soldier on horseback. Vividly painted in yellow, green, and blue. Condition is very good, ...

This beautiful pottery charger is from Montelupo, Italy and is hand painted with two soldiers sword fighting. Vividly painted in yellow, green, and blue. C...

Modern wall Tapestry Designed by Guido Maggiori (b. 1944) Bold, Colorful Abstract Composition Entitled "Rouge, Vert, Jaune, Noir & Bleu". (Red, Green, Y...

Our friend Mary has a ritual of picking a flower or small bunch from a garden each day and placing them in a small bottle vase, documenting each with a photograph and short note. We ...

Beautiful silver plated bird sculpture with 0nyx eyes.

Our friend Mary has a ritual of picking a flower or small bunch from a garden each day and placing them in a small bottle vase, documenting each with a photograph and short note. We ...

Great aquarium, fish tank in Murano Glass, by Cenedese and attributed to Riccardo Licata, well known Murano artist. This is an early piece with a big fish, t...

Wall Art Light - Dune - by Vera Dieckmann Bespoke wall art, D= 130 cm, Material : casted brass with integrated LED lighting Limited edition of 3, signed and numbered Vera Diec...

A unique modern portrait painting on burlap of Ludwig von Beethoven, with a white wash finish / overlay. Signed and dated by artist on verso. Measures: 32.5” x 1.875” x 40.5” / Sa...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

All our products are custom made. The price per square meter is 77$. The price shown is for a 350cm wide by 250cm high wall The plains of the Rift Plateau are home to a great divers...

An impressionist style oil painting of a ballerina striking a pose. Signed lower right by Fisher. Framed in gold. Dimensions 42" x 2.5" x 30"; 36" x 24'.

Great esoteric clay painting / sculpture. Wheel thrown clay with sculpted stalagmites. No cracks, but has some barely visible hidden minor chips on the stalagmites (covered in black ...